Description:
ROGER BRODERS (1883-1953) HUILE RENAULT. Circa 1920. 46 1/4x30 1/2 inches, 117 1/2x77 1/2 cm. Courbet, Paris. Condition B+: repaired tears, restoration and overpainting in margins and image; darkened overall. One of Broders' earliest known published images is from a 1912 French fashion magazine. Journal des Dames et des Modes it depcits a woman in an elegant robe in front of a lacquered Chinese cabinet. The haute Art Deco mannerism of that fashion image did not appear in his posters until the late 1920s. Among his earliest posters is this ad for car oil. The Moliere-inspired doctor, treating a car with oil, is a figure quite far from the lithe Art Deco figures Broders would soon be drawing. The slogan "The Health of the Engine" is borne out by the visual association of the medical treatment. rare/span Broders p. 22, Perry / Broders p. 8.

Description:
ROGER BRODERS (1883-1953) TUNIS. 1920. 42 3/4x30 1/4 inches, 108 1/2x77 cm. Daude Frères, Paris. Condition A. It is interesting to note that Broders' first travel posters were for destinations outside of France. Stylistically these early images were very similar to posters designed by other renowned travel poster artists such as E. Paul Champseix, Constant Duval, Julien Lacaze and Charles Hallo (Alo). Yet Broders' early posters show a commanding use of depth of field, each having a pronounced foreground and background, set off from each other by strongly contrasting colors and shades of light. Broders p. 110, Perry / Broders p. 88, Algerie p. 195, Bon Voyage p. 42, Chemins de Fer 171, not in Orientalist.

Description:
ROGER BRODERS (1883-1953) LA ROUTE DES ALPES. Circa 1920. 42 1/4x30 3/4 inches, 107x78 cm. Cornille & Serre, Paris. Condition A: repaired tear in top margin; crease through bottom left corner. Again, Broders masterfully employs the use of depth of field, with the vegetation and people in the foreground and the route from Nice to Geneva in the background. His depiction of the people taking the tour of the Alps by motor coach is straight forward and illustrative, bearing none of the Art Deco stylization that would appear in his work later in the decade. Broders p. 66, Perry / Broders p. 57, Hillion p. 252.

Description:
ROGER BRODERS (1883-1953) FOIRE DE LYON. Circa 1920. 41 3/4x30 1/4 inches, 106x77 cm. Cornille & Serre, Paris. Condition B+: repaired tears and restoration in margins and image; abrasions in image; crease through lower right corner. The Foire de Lyon became a yearly event in 1918. There is no specific indication of which year this poster is advertising, but we know that it must be prior to 1925, as this was the year Broders changed the appearance of his signature. Prior to 1925, his signature was more cursive; after 1925 he began to sign his work with the letters of his name all in uniform size. Broders p. 58A, Perry / Broders p. 42.

Description:
ROGER BRODERS (1883-1953) CRÉDIT DE L'OUEST. 1920. 31 1/4x23 1/4, 79 1/2x59 cm. Devambez, Paris. Condition B+: restoration and restored losses along vertical and horizontal folds; creases in corners. A singular image in Broders' oeuvre in that it advertises a bank. A bookkeeper takes time away from his ledger to inform the public on an inside tip that the 6% interest is to their advantage. Broders' use of flat planes of color broadcasts his ultimate artistic direction. Broders p. 29 B, Perry / Broders p. 8.

Description:
ROGER BRODERS (1883-1953) IL FAUT ALLER EN RHENANIE. 1921. 21 3/4x17 3/4 inches, 55 1/2x45 cm. Condition B+ / A-: repaired tears at edges; creases through upper right corner; restored pin-holes in corners. An extremely scarce/span broadside extolling the public to attend an exhibition of French Art in the Rhineland. In the years following the First World War, the Rhineland became a pawn in a much larger political and military struggle between France and Germany. This exhibition was conceived of as a means of increasing tourism and generating financial, cultural and social bonds between the French and the German populations. However, the French Government overruled the local commissioner in the district and ordered him to "scale back" publicity for the event, which might well account for the austere nature of this announcement. previously unrecorded

Description:
ROGER BRODERS (1883-1953) MARSEILLE / LA GRANDE METROPOLE INDUSTRIELLE ET COMMERCIALE. Circa 1922. 42x30 1/4 inches, 106 1/2x76 1/2 cm. Cornille & Serre, Paris. Condition A / A-: expertly restored punch-holes in right margin; abrasions in image. This image first appeared on a poster advertising the Colonial Exhibition in Marseille in 1922. This exhibition was France's "first event of national importance after the First World War. The colonies and countries within the French protectorate wanted to show their vitality . . . Broders evoked the Marseille that was true for all sailors, officers, soldiers, journalists, poets and adventurers who saw the beginning or end of their long crossings there" (Marseille p. 55). When the exhibition closed, the railroad re-used the image on this poster promoting the port as the thriving center of commerce that it had become. Broders p. 80 (var), Perry / Broders p. 18, Marseille cover and p. 54, La Mer p. 188.

Description:
ROGER BRODERS (1883-1953) PEUGEOT. 1923. 62 1/2x46 3/4 inches, 159x119 cm. Affiches Broders, Epinay. Condition B+ / B: repaired tears through top and bottom margins into image; overpainting and restoration n margins and image; restored loss along right edge, affecting image. To promote the latest automobile from the French car-maker, Broders illustrates the Peugeot 153 "Torpedo" on the main square in Deauville. He associates the product with the locale in a seamless manner that bespeaks luxury and the fine-life. rare/span we could only find two examples at auction since 1992. Broders p. 27 A, Perry / Broders p. 6.

Description:
ROGER BRODERS (1883-1953) [BRODERS ILLUSTRATIONS.] Circa 1922-1932. Group of 10 items. Sizes vary. Condition varies. During his years as a poster designer, Broders also designed menus and was a contributing illustrator to the PLM Railway's yearly "Agenda," a travel book / calendar. Broders contributed both black and white and full color plates to the publication, many of which have not been previously republished. Group includes: Agenda PLM 1925, 1926 and 1929; two menus printed by Champagne Delbeck and several loose, color plates from various years of the Agenda.

Description:
ROGER BRODERS (1883-1953) GRENOBLE / EXPOSITION INTERNATIONALE HOUILLE BLANCHE & TOURISME. 1925. 42 1/4x31 inches, 107 1/2x79 cm. Lucien Serre, Paris. Condition A: expertly restored punch-holes in right margin. The International Exhibition of White Coal and Tourism, was held in Grenoble in 1925. "White Coal" was a term given to clean hydro-electric power, in contrast to power produced by burning black coal. The PLM added additional trains to accommodate visitors to the fair, over one million of whom visited during the course of the event. Broders p. 59B, Perry / Broders p. 43.

Description:
ROGER BRODERS (1883-1953) BELLERIVE SUR ALLIER / LOTISSEMENTS. Circa 1926. 46 1/4x31 inches, 117 1/2x79 cm, Agence de Publicité, Vichy. Condition A. In addition to his work for the PLM, Broders was also called upon by several real estate companies to help sell subdivisions within newly organized real estate developments (see also lots 45 and 48) . His ability to beautifully depict landscapes and visually equate elegance with the locations he portrayed, made Broders an obvious choice for this job. rare/span not in Broders, Perry / Broders p. 44.

Description:
ROGER BRODERS (1883-1953) STRASBOURG - CHAMONIX. 1926. 42x30 inches, 106 1/2x76 cm. Lucien Serre, Paris. Condition A. Here to announce a joint venture between two railroads, Broders uses figures clad in regional ethnic garb to represent the two distinct areas that are now connected by rail. His depiction of the women from the Savoy and Alsace-Lorraine are more stylized than the people he has depicted up until this point, suggesting his shift towards full Art Deco stylization. The geometric forms in the background similarly indicate the development of his style. The characters are very similar to those depicted in a brochure he designed in 1930 (see www.travelbrochuregraphics.com). Broders p. 44A, Perry / Broders p. 46.

Description:
ROGER BRODERS (1883-1953) COL DU GRAND ST. BERNARD. 1927. 42 1/4x30 3/4 inches, 107 1/2x78 cm. Lucien Serre, Paris. Condition A: expertly restored punch-holes in right margin. The Great St. Bernard Pass is an ancient path across the Western Alps that was used by Napoleon's army, but predates Roman times. Shown here are the two hospice buildings, dating from 1560 and 1898, which are most famous for the Statue of Bernard of Menthon (St. Bernard) and the dogs kept there that bear the name St. Bernard. Alpi 11, Alpi / Manifesti 50, Broders p. 102, Perry / Broders p. 70.

Description:
ROGER BRODERS (1883-1953) LE MONT REVARD. 1927. 42 1/2x31 inches, 108x78 1/2 cm. Maurice Dupuy, Paris. Condition A: printer's creases in image. The PLM Railway purchased land and several existing chalets on Mont Revard in 1923. They combined the buildings to form the Grand Hotel, which opened in 1925. To reach the exclusive mountain retreat, passengers would take the train to Aix-les-Bains and then a cog railway up the mountain to the resort. The terminus station, depicted here and in the following lot, was designed by Pierre Patout, one of the architects who contributed interiors to the great French ocean liner the Normandie. The Hotel was demolished in the mid 1950s. Broders p. 77A, Perry / Broders p. 80.

Description:
ROGER BRODERS (1883-1953) GRASSE. 1927. 42 1/4x30 3/4 inches, 107 1/2x78 cm. Lucien Serre, Paris. Condition A. This is Broders' first poster where his figures take on a stylized, elongated, Art Deco look. As such it is a watershed image that heralds his entrance into the next stage of his artistry. "It perfectly displays the talent and technique of the artist who plays with shadow and light and whose light-handed but firm design and pastel colors, succeeds in evoking the pleasant atmosphere of a peaceful and quiet resort where pedestrians stroll under a canopy of trees" (Azur p. 135). Broders p. 89, Perry / Broders p. 25, Riviera 63, Azur 162, Zagrodzki 240.

Description:
ROGER BRODERS (1883-1953) SAINTE - MAXIME. 1928. 42 1/2x31 inches, 108x79 cm. Lucien Serre, Paris. Condition A: expertly restored punch-holes in right margin. It is with this image that Broders formally turns towards geometric compositions, fully embracing flat planes of color and stylized landscapes. It was one of his most popular posters during his lifetime and was widely used by several different organizations. The PLM railroad reused it in 1929 in a slightly smaller format, the S.N.C.F. used it as a poster in the mid 1930s and the Saint-Maxime tourist office also employed it as a promotional image. Broders p. 85A and 85B (var), Perry / Broders p. 33, Quand l'Affiche 96, Riviera 40, Voyage p. 39, Golden Age 136. this is the first edition/span

Description:
ROGER BRODERS (1883-1953) VICHY. 1928. 39 1/4x24 1/2 inches, 100x62 cm. Lucien Serre, Paris. Condition A. An exceptional Art Deco collage highlighting Vichy's activities, natural splendor and glamorous visitors. Within Broder's small but renowned oeuvre this poster stands out as one of only a few in which the typography deviates from his standard of being uniformly arrayed across the bottom of the image. It is also unique in that it is his only poster done in the collage/montage style. Broders p. 54, Perry / Broders p. 53 and cover, Hillion p. 104, Chemins de Fer 120, Zagrodzki 239.

Description:
ROGER BRODERS (1883-1953) FUNICULAIRE / CHAMONIX - PLANPRAZ LE BREVENT. 1928. 42 1/2x31 inches, 108x79 cm. Lucien Serre, Paris. Condition A. This poster was popular enough to be reprinted in a smaller format a year or so after its original printing. Besides the size, there are very slight differences between the two printings, the most obvious being the placement of the PLM logo. On the first printing the logo is tucked away in the lower left corner, but in the later printing, is situated several inches above the bottom margin. A more obvious distinction between the two is the printer's imprint. When it was first printed Lucien Serre was working out of "19 rue du Terrage." By the time the poster was reprinted, the printer had expanded and was working from "15, 17, 19 rue du Terrage." Alpi / Manifesti 59, Broders p. 69, Perry / Broders p. 78, Hillier p 71, Hillion p. 200, Skiing p. 52, Voyage p. 113. this is the first edition/span

Description:
ROGER BRODERS (1883-1953) ANTIBES. Circa 1928. 42x30 3/4 inches, 106 1/2x78 cm. Lucien Serre, Paris. Condition A / A-: unobtrusive restoration in upper left corner; repaired tear in top margin. Being that this image evokes the stylish, languid reminiscences of an F. Scott Fitzgerald story is an uncanny example of art imitating life, imitating art. F. Scott Fitzgerald and his wife Zelda stayed in this Riviera town in 1926, and it was during his time there that he began writing his novel, Tender is the Night. This poster has never been definitively dated, usually cited as circa 1927, but the stylistic rendering of the main figures is too sophisticated to have been so early. A visual chronology of Broders works shows that he began to master the use of diffident characters with elongated bodies in 1928. This poster also appears with a square version of the PLM logo as well as without a logo entirely. Broders p. 91, Perry / Broders p. 27, Riviera 60, La Mer p. 116, Azur 144.

Description:
ROGER BRODERS (1883-1953) ST. HONORÉ LES BAINS. Cicra 1928. 39 1/2x24 1/2 inches, 100 1/2x62 cm. Pierre Lafitte, Paris. Condition B+: restored loss in lower right corner; repaired tears and restoration at edges, some extending into image. In addition to depicting the spa building (St. Honore les Bains was renowned for her therapeutic waters) and the stunning setting in the middle of France, Broders also focuses on the leisure activities and fashions of the elegant people who travel to this resort. The man's sweater is one of three representations in Broders' work of the "W" pattern, which Lepeuve suggests was a style knit by his wife. The woman is clothed in the manner of Suzanne Lenglen, the great French tennis star of the 1920s, who popularized sleeveless shirts and skirts for female tennis players, as well as the fashionable bandeau seen here wrapped around the woman's head. Broders p. 53, Perry / Broders p. 51, Hillion p. 104, Tennis p. 37-2, Voyage p. 37.

Description:
ROGER BRODERS (1883-1953) LYS - CHANTILLY. Circa 1928. 46 3/4x30 3/4 inches, 118 1/2x78 cm. Lucien Serre, Paris. Condition A. Built on land formerly owned by the Duke of Aumale, this new housing development began selling villas in Lys-Chantilly starting in 1925. Aimed at wealthy families, the advertisements offered utopic wonderlands of country living and the sportsman's lifestyle. The Art Deco composition of the lady and her sleek greyhound against a geometric background with bucolic scenes of a golf game, combine with the stylized text to create a "belle oeuvre" on par with the complex being advertised. In 1930, A.M. Cassandre also designed a poster for this development. Broders p. 42, Perry / Broders p. 45, Quand l'Affiche 105, Le Sport 171, Tennis p. 53-3.